Designated as the Cinema EOS C500* for use with EF-mount lenses, and the Cinema EOS C500 PL* for use with PL-mount lenses, the cameras will be capable of originating 4K (4096 x 2160-pixel) resolution digital motion imagery with uncompressed RAW output for external recording, in response to growing expectations for higher levels of imaging performance in premium Hollywood films and other production markets requiring the utmost in picture quality.

For professional 1080p acquisition the camera seems a good companion to the Canon C300 or Arri Alexa. As a 4K camera it can be intercut with the Red EPIC, Sony F65 and the FS700 once that camera becomes 4K with an external recorder. So the Cinema 1D – despite being a very difficult camera to anything else – does fit well into existing industry infrastructure and on Hollywood sets.

There is definitely less resolution, and aliasing at 480fps. But last week our only option was the Phantom. Features like super slow motion up to 960 fps in a camera that's sub $10k is something that will make the FS 700 very attractive.
It is slower to work in super slow mo. You record into a buffer, then when you stop recording, it writes it to the card. Makes it difficult in a run n gun situation. We lost opportunities to shoot skaters because the camera was still writing to the card. Just have to pick the right moments.

It will shoot up to 240 fps at 1920×1080, 480 fps at 1920 x 432 skipped readout interpolated to 1920 x 1080, and 960 fps with reduced resolution interpolated to 1920 x 1080.

The 200fps is pretty amazing.

THE STILLMOTION 5D MK3 REVIEW | Patrick | Still Motion Blog
A review of the Canon 5D Mark III, which also goes into why they prefer this camera over other alternatives:

the Epic and Scarlet provide great images – absolutely stunning with an incredible amount of room to move in post – but the workflow isn’t the right fit as a main camera for many television applications. the Sony F3 (which we once owned) and the Canon C300 are sort of in-between options offering more robust features at a medium price point and size. with the added features also comes an increase in size and complexity. yes a C300 is fast and the image may be great, but we still aren’t as fast as a MKIV and now a MK3 on a monopod. does that difference really matter? for us, it absolutely does.

Adobe CS6 Production Premium Revealed | Richard van den Boogaard | ReelSEO
The other excitement of the day; Adobe announced CS6, offering news on all kinds of things, including Speedgrade:

Although I still have to start playing with SpeedGrade (I like and use Red Giant’s Magic Bullet Suite), it certainly looks like a professional grade application, right up the alley with Davinci Resolve and Assimilate Scratch. Professional graders may tend to disagree and prefer a node-based system, but I firmly believe that, over time, SpeedGrade will evolve and be used by the pros, in the same way that editors are now making the switch to Adobe.

Expanded multicam editing The new version of Adobe Premiere Pro offers expanded multicam support, allowing you to work with as many cameras as you want. Previously, you could work with multicam footage from four cameras. Now, you’re limited only by the formats you’re working with and the power of your editing computer.

Adobe After Effects CS6 has lots of new and enhanced features in many areas of the program, from importing and compositing to effects and especially 3D animation. In this free course, Adobe Technical Support Lead Todd Kopriva walks you through all of them, including extruded text and shapes, the ray-traced 3D renderer, the 3D camera tracker, fast previews, and variable-width mask feathering. You’ll also learn about changes to performance and the user interface, and how these can affect your workflow.

Adobe CS6 is Announced | Carey Dissmore | Blog
This post actually links to some other interesting articles on the announcement.